The Sixth Chamber Post Lyric Video for “Walpurgis Night”

Posted in Bootleg Theater on April 19th, 2021 by JJ Koczan

the sixth chamber

With roots in Los Angeles that go back 20 years but just two full-lengths under their collective belt,  MYiNK Database For Research Paper focuses on helping businesses stand out with professional brand development, content marketing and enticing original The Sixth Chamber manage to bring a storied blend of styles to the goth-horror narrative of their new single “Walpurgis Night.” And by “the goth-horror narrative,” I mean the goth-horror narrative, since the song is essentially telling the story of Bram Stoker’s Dracula. Because, damn it, if you’re going to do a thing, go all-in.

And  Essential Essay Help from highly professional staff. Don't lose a chance to order premium read this from trusted writing service! The Sixth Chamber are nothing if not that. Their sound brings together elements of stately goth rock, classic heavy metal, and doom, and with a hearty dose of church organ to boot, “Walpurgis Night” offers a duly creepy feel to go with its rampant hook about the undead. Led as ever by guitarist/vocalist  Our research How Do Your Homework Fast service is something PaperWritingPro became renowned for. Even at first glance, you will be able to recognize the amount of care, time, and professionalism woven into every single sentence. Stellar writing quality has put us on the map, and excellence guarantee we offer for every written piece our team members provide is sure to satisfy even the most demanding tutors Rahne Pistor, their songcraft wants nothing for structure or melody and their work weaves between influences with the organic otherness of a band working outside of time. I’m pretty sure I’ve likened them before to  The Best Creative Writing Pictures For Kids in The UK. We created a dynamic and flexible system that allows students from all over the UK and beyond to find an expert to do their tiresome writing assignments. The writers in our team are certified professionals, each holding a degree in one or more of the subjects listed in the order form. We cooperate with former students of the UK universities to better Type O Negative or the underappreciated Our http://www.documentahalle.de/?essay-revision-servicess are top quality as well as affordable. Its really the best way to take any dissertation up to the next level. You can check the feedback of our editors to see that previous customers have been highly satisfied with their performance. We guarantee our editing to live up to your expectations. Here at Thesis Helpers we understand that good dissertation editors Bronx Casket Co. — and if not, shame on me — but if not, the obvious glee of their darkness comes through even or maybe especially in the animated lyric video that accompanies “Walpurgis Night” below.

For further grim treasures, I might advise digging into their Bandcamp. Personnel and styles vary, but there’s always a darker undercurrent that unites the material across the swath of releases.

But of course, this first. Enjoy:

The Sixth Chamber, “Walpurgis Night” official lyric video

New vampire-themed rock to satisfy your preternatural drive for blood! Mythical mysterians The Sixth Chamber make a foray into the darkest depths of antiquarian vampire lore with the release of the new single “Walpurgis Night”.

Lyric video artwork and direction by Marlena Sidor
End screen composite photo by Marlena Sidor, Constantin Werner and Matthew Fields

The Sixth Chamber:
Rahne Pistor ~ Vocals, Guitar
Alan St Jon ~ Keyboards
Bobby Parker ~ Bass
Erik Peterson ~ Drums
Lillian Liu ~ Violin

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The Obelisk Questionnaire: Ben Carr of INTRCPTR, Ancient Lights and 5ive

Posted in Questionnaire on April 19th, 2021 by JJ Koczan

5ive (photo by Jason Hellmann)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Ben Carr of INTRCPTR, Ancient Lights and 5ive

Get best Algebra 2 Homeworks in U.S. at MyAssignmenthelp.com. Top paper editing services in U.S. at low price available. Avail when you need paper editors How do you define what you do and how did you come to do it?

Continually trying to find a life balance between the things I love to do and things I need to do to get by in the world. At times they can converge.

Julia Christianson Write An Essay About Jesus Christ. You have a project that you want to bring to fruition. My goal is to help you achieve your goals in an Describe your first musical memory.

Discovering a record collection and playing all the different records, some of them moved me in different ways. The ones I liked most would take me outside of myself for a bit.

Order best go service in a few clicks Feel free to get the custom written papers, research papers, essays, term papers, thesis writing on the market Security and confidentiality guarantee Describe your best musical memory to date.

Only happened a handful of times. A few times when playing live (usually at a rehearsal where there are no outside pressures), I would find myself completely in the moment in the middle of a song. While you are truly in the moment time slows down to a crawl, and as soon you realize it, it’s gone.

Maybe a total of 5 seconds?

It’s the strangest thing, and I can only describe it as something close to when a person has “Deja vu”.

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Not sure.

This happens more when you are younger and experimenting more with people, and less as you get older.

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Hopefully to creativity in other parts of your life.

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Being able to do whatever it is that makes you feel reasonably fulfilled every day.

Pro Essay is always ready to answer requests How Can I Pay Someone To Write My Essay or Do My Essay Cheap in UK, get Huge discount on all orders! What is something you have seen that you wish you hadn’t?

How the business of music really works.

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An algorithmic program but I’m not sure I have the patience to learn.

Willing to http://www.kpria.cz/?buy-essays-online-uk? We are here to provide you with the highest quality content at the lowest rates, so do not hesitate. Life in college What do you believe is the most essential function of art?

Self-expression and communication

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The stock markets.

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INTRCPTR, II (2018)

Ancient Lights, Ancient Lights (2018)

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Review: Various Artists, Live in the Mojave Desert, Vols. 1-5

Posted in Reviews on April 13th, 2021 by JJ Koczan

live in the mojave desert 1-5

Late in 2020, when the project was announced, Live in the Mojave Desert sounded immediately ambitious. A series of five exclusive streams, taking bands and putting them out in the Californian deserts, with civilization somewhat visible from the aerial drone shots, but definitely far enough away to have been left behind, to record live sets by Giant Rock (see also: Yawning Man, Live at Giant Rock, the video/LP something of a precursor) and be captured doing so by professional audio and video. The series was successfully pulled off, which was impressive in itself, and it set a standard for heavy acts in this era of streaming that few could hope to match. The intention was concert-film, and the results were likewise.

Heavy Psych Sounds and the newly-formed Giant Rock Records — helmed by series director Ryan Jones — have overseen physical pressings of the sets as live albums, taking the audio caught by Dan Joeright of Gatos Trail Studio in Joshua Tree with mixing by Matt Lynch at Mysterious Mammal and others. From this comes Live in the Mojave Desert Vol. 1-5, and from the moment Isaiah Mitchell starts echoing out the notes that signal the pickup in “Violence of the Red Sea” to the final wah-out, crashes and shout of Mountain Tamer‘s “Living in Vain,” it remains clear the series is something special — a grand monument built to an ugly time.

A rundown:

Earthless, Live in the Mojave Desert Vol. 1

earthless live in the mojave desert
(stream review here)

The crazy thing about this series — or one of the crazy things, anyhow — is that if it had been just Earthless, that probably would’ve been enough to be staggering. Admittedly, it is difficult to hear the audio from bassist Mike Eginton, drummer Mario Rubalcaba and the aforementioned Isaiah Mitchell and not think of the desert at night being lit up by the Mad Alchemy Liquid Light Show, drones flying overhead as trippy lights flash and shift with the music, but I’m not sure that’s a bad thing. Earthless played three songs — “Violence of the Red Sea,” “Sonic Prayer” and “Lost in the Cold Sun” — and that’s enough to make their release the only 2LP of the Live in the Mojave Desert set, topping out at about 77 minutes, with the entirety of sides C and D dedicated to “Lost in the Cold Sun”‘s 39-minute sprawl.

There’s a reason Earthless were the headliners for this thing, and it’s because there’s no one else who has the same instrumental dynamic they bring to the stage — or sand, as it were — and because if you’re going for “epic” as a standard, they’re the band you call. Will Live in the Mojave Desert Vol. 1 replace Live at Roadburn 2008 (discussed here) as the band’s supreme live-recorded statement? I don’t know, but it sure sounds incredible. “Sonic Prayer” comes through with due sense of worship and “Lost in the Cold Sun” fuzzy grace feels like the kind of thing a future generation might think of as classic rock. Watching, it was easy to get lost in the show, follow the head-spinning turns of guitar atop the ultra-sure foundation of bass and drums, and listening, it’s the same. With an exquisite mix and a vital performance, it’s every bit the best-case-scenario for what Live in the Mojave Desert could and should be.

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Nebula, Live in the Mojave Desert Vol. 2

nebula live in the mojave desert
(stream review here)

With Live in the Mojave Desert Vol. 2, I consider Nebula‘s comeback complete. The band reformed in 2017, hit the road hard, and in 2019 offered up the return studio full-length, Holy Shit! (review here), and toured again for as long as that option was available. They have new material in the works too, and what’s most striking about the trio’s performance the 10-song/48-minute set here is how characteristic it sounds. Drummer Mike Amster (also Mondo Generator, etc.) and bassist Tom Davies strap the listener down while founding guitarist/vocalist Eddie Glass takes off to the center of the universe, and amid classics like that opener, Holy Shit! cuts like “Messiah,” “Let’s Get Lost,” “Man’s Best Friend” and the new song “Wall of Confusion” fit right in. There’s never a doubt, never a question of who you’re hearing. Even the sloppiest moments are pure Nebula.

That’s what they’ve always been — part punk, part heavy psych, part pure go — and Live in the Mojave Desert Vol. 2 brings that to bear without question. As a follow-up to Holy Shit! as well as the band’s second sanctioned live recording behind 2008’s Peel Session, it captures their inimitable sonic persona and the sense of chaos that their material always seems to carry, like it’s all about to come apart at any second and if it did, fuck it anyway, you’re the one with the problem. It never does come apart here, which I guess is to the band’s credit as well, but this set is nonetheless a full expression of who Nebula are as a group. Now get to work on that next record.

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Spirit Mother, Live in the Mojave Desert Vol. 3

spirit mother live in the mojave desert

(stream review here)

If one might think of including Spirit Mother in the series as a risk, the risk was mild at best, and as the first of two bands representing a next generation of California’s heavy underground, the Long Beach troupe more than acquitted themselves well in their relatively brief 10-song/33-minute showing. Live in the Mojave Desert Vol. 3 basks in the violin-conjured atmospheres of the four-piece’s debut album, Cadets (review here), and wants nothing for impact to complement that ethereal sensibility. Their songs are short, and that gives them a kind of proto-grunge edge, and the vocals of bassist Armand Lance, who shares those duties with violinist SJ, add drug-punkish urgency to the procession of one song into the next.

For a band coming off their first album, they are intricate in aesthetic in ways that might surprise new listeners, and that’s exactly why they feature behind Nebula in this series. Hearing them dig into “Black Sheep” and “Martyrs” and “Dead Cells” on Live in the Mojave Desert Vol. 3 is the best argument I can think of in favor of signing the band for their next studio release, and if Heavy Psych Sounds doesn’t, someone else surely will. Not trying to tell anyone their business, of course, but Spirit Mother are happening one way or another. That combination of air, earth, and fuzz is too good to leave out.

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Stöner, Live in the Mojave Desert Vol. 4

Stöner live in the mojave desert

(stream review here)

Aired fifth but billed almost inevitably as Vol. 4, the unveiling of Stöner, the new trio from Brant Bjork and Nick Oliveri with Ryan Gut (also of the former’s solo band) on drums was a bonus to the Live in the Mojave Desert. On-again-off-again collaborators across decades, Bjork and Oliveri nestled into mostly laid-back, stripped down grooves, their stated purpose in going back to the roots of the sound they helped create in the first place. The Kyuss-ness of the central riff of opener “Rad Stays Rad” is no less demonstration of their having done so than the driving punk of the Oliveri-fronted “Evel Never Dies.” The vibe is nostalgic in that song, as well as “Rad Stays Rad,” the gleefully funked “Stand Down,” and “The Older Kids,” but if Stöner is about looking back at this point, they’re doing so with fresh eyes.

To wit, “Own Yer Blues,” “Nothin’,” and the 13-minute mint-jam finale “Tribe/Fly Girl” are more endemic of who these players have become than who they were in the early ’90s or before, and that applies to “Stand Down” too. Bjork‘s vocals sound double-tracked on some of the parts (or at least close delay), but he and Oliveri work well together as one would expect, and as a reveal for what these guys had come up with in renewing their collaboration, Live in the Mojave Desert Vol. 4 offers seven memorable songs that would make anything more seem unnecessarily fancied up. If their calling card is that rad stays rad, they prove it. And I know he’s not the top bill in the trio with Bjork‘s flow and Oliveri‘s bass tone, but Gut‘s contributions here aren’t to be understated.

Stoner on Instagram

Stoner website

Mountain Tamer, Live in the Mojave Desert Vol. 5

mountain tamer live in the mojave desert

(stream review here)

Second only to Stöner in curiosity factor, L.A. trio Mountain Tamer have always held a darker edge in their sound, and that comes through in the brash 36 minutes, shouts and screams echoing out over fuzzed garage metal in a fuckall that’s punk in attitude but angrier in its underlying core. Guitarist/vocalist Andrew Hall, bassist Dave Teget and drummer Casey Garcia are the kind of band who open the show and sell the most merch when they’re done. The elements they’re working with are familiar and have been all along in their decade together and across their three LPs — the latest of them, 2020’s Psychosis Ritual (review here), was released by Heavy Psych Sounds — but more even than in their studio work, Live in the Mojave Desert Vol. 5 brought to light just how much their own their sound really is.

Whether languid as in “Chained” or “Black Noise” or furious as in “Warlock” and “Living in Vain,” Mountain Tamer give Nebula a run for their money in terms of chaos, and easily make for the most pissed off listen of the bunch in Live in the Mojave Desert. The relative roughness of their edge suits them, however, and the rampant echo on the guitar assures there’s still a spacious sound to act as counterbalance to all that thrashing and gnashing. If you can call it balance, I don’t know, but it works for them and they wield their sound as knife more than bludgeon when it comes to it.

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Live in the Mojave Desert Vol. 1-5 teaser

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The Crooked Whispers Sign to Ripple Music

Posted in Whathaveyou on April 7th, 2021 by JJ Koczan

Based in Los Angeles and Argentina, cultists The Crooked Whispers have inked a deal to release their second album as a part of Rob “Blasko” Nicholson‘s curated series through Ripple Music. Snagging the trio, who released their debut album, Satanic Melodies (review here), in the dead heat of last summer and followed up with the single “Galaxy of Terror” that you can hear below last Fall, will issue their sophomore full-length sometime later this year. They are the latest in a string of strong pickups by Ripple, and as far as Blasko‘s track record goes, dude would seem to be three for three.

I’ll hope to have more to come as we get closer to the release, but here’s the PR wire announcement in the meantime:

the crooked whispers ripple music

THE CROOKED WHISPERS – Ripple Music

L.A. psychedelic doom purveyors THE CROOKED WHISPERS sign to Ripple Music as part of special series curated by Blasko.

Ripple Music welcome satanic psych doom unit THE CROOKED WHISPERS to their ever-expanding roster, for the release of their sophomore album. This comes as the third signing as part of the special series of releases curated by Blasko.

THE CROOKED WHISPERS formed in 2020 during the global pandemic and released their debut studio album ‘Satanic Melodies’ and the ‘Galaxy of Terror / Hail Darkness’ EP through Bandcamp. The “satanic psych doom” trio is made up of musicians hailing from the United States and Argentina: Ignacio De Tommaso (Luciferica) on bass, Anthony Gaglia (LáGoon) handling the vocals and Chad Davis (Hour of 13) on guitar.

Since then, the cult has steadily been growing around the world, sparking the interest of many fans and most notably Ozzy Osbourne bassist Blasko, who has signed them to Ripple Music under his exclusive partnership with the label for their highly anticipated sophomore release.

BLASKO comments on this new signing: “Satanic Melodies is a true cult masterpiece and I reached out to the band immediately expressing my interest in bringing them on to Ripple. I am excited to work with them and assist their efforts into what will undoubtedly be the most terrifying release of the label’s history.”

Stay tuned, as more details about their upcoming new album will be revealed soon!

THE CROOKED WHISPERS is
Ignacio De Tommaso — bass
Anthony Gaglia — vocals
Chad Davis — guitar

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The Crooked Whispers, “Galaxy of Terror”

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Friday Full-Length: Alain Johannes, Spark

Posted in Bootleg Theater on April 2nd, 2021 by JJ Koczan

Context helps but can be cruel in doing so. To wit, Alain Johannes, already known at the time for his work in/with Queens of the Stone Age and Them Crooked Vultures, Desert Sessions, Mark Lanegan, Chris Cornell and Eagles of Death Metal — and that’s before you really get into his catalog as an engineer or producer, blah blah Sound City, and so on — released his first solo album, Spark, through Josh Homme‘s Rekords Rekords in 2010. Johannes recorded and played all the instruments himself, and the CD liner finds him credited with cigfiddle, voice, fretless ebow guitar, harmonium, contrabass guitar, cello, 12-string acoustic, percussion and drums, though honestly in opener “Endless Eyes” it kind of sounds like there might be more going on than just that. At an unassuming but elaborate 29 minutes and eight songs, it is very much a solo album.

And even that becomes a somewhat tragic factor when you understand that it was created in the wake of the death of Johannes‘ life- and creative-partner Natasha Shneider, with whom he’d worked since at least the 1987 self-titled debut of Walk the Moon (they had the hair to prove the era) on MCA Records. Throughout the 1990s, they collaborated in the band Eleven, making their first offering in 1991 and releasing their last full-length, Howling Book, in 2003, though an EP also surfaced in 2011 and remains the most recent outing under the name. Decades, they lived and worked together, in other words. And in light of that, Spark is all the more alone in the atmosphere of songs like “Speechless,” “Spider,” “The Bleeding Whole” and closer “Unfinished Plan.”

It is a loneliness resonant and outright beautiful when it wants to be, but hardly morose. As noted, Spark begins with a flurry of activity on “Endless Eyes,” the Chilean-born Johannes (né Alain Johannes Mociulski) drawing effectively from a bit of Latin folk in his strum and percussion, as he will again shortly on the penultimate “Gentle Ghosts,” but the subsequent “Return to You,” with stick-click timekeeping and a bounce in its cigar-box guitar — like a ukulele but more breadth — is a pure McCartneyist lovesong. Its rhythm bounces with added flourish of backing vocals, and its repetitive verse lines are a hook unto itself even before they lead so smoothly into the album’s standout chorus. Or one of them, anyhow. It’s a pop song, sculpted in that tradition, and plays light with its bum-ba-bum’ing as it shifts back to the next verse and, after a clean three-minute run, out and into “Speechless.”

What is a sparse atmosphere initially in “Speechless” is filled soon with choral vocals and far-back something-or-other, and one can hear the effect Johannes‘ songwriting and contributions had to alain johannes sparkmid-period Queens of the Stone Age, thinking Lullabies to Paralyze and the like. The subsequent “Make God Jealous” — the longest track at 4:58 — begins with a stretch of showoff improv-feeling guitar work that accounts for the extra 90 seconds or so, and carries that running thread throughout, while also mellowing behind the verse lines, the contrast feeling like clear thoughts coming through a morass of things half-remembered. The build caps suddenly with a last strum, and side B begins with “Spider,” the airy and crawling notes likewise evocative. Falsetto and what I’d assume is the ebow guitar — the effect is theremin-esque — fill out an arrangement that still feels relatively spacious and the quiet doesn’t abate because it doesn’t need to, and despite the obvious emotional significance of the material, Johannes is a working songwriter writing songs.

One wonders if translating ideas into verses and choruses, that act itself, was perhaps a way of making sense over the few years between Shneider‘s passing and Spark‘s release. I don’t know and won’t speculate. “The Bleeding Whole” follows directly after “Spider” and is about as dark as the album gets, which is something Johannes seems to acknowledge with the slap of “Gentle Ghosts” working a quick two minutes to revive the energy with which the record started back on the A side. There is nothing incomplete about it, despite the brevity, and its melody makes no less of an impression than its rhythm, giving way to closer “Unfinished Plan,” which brings in the cello and the ebow but keeps its relatively straightforward strum at the center, as Johannes works around the lines “You were not afraid of letting go/So I am not afraid of letting go,” and self-as-chorus layering ahead of the second verse and sort of one-foot-in-front-of-the-other’ing back to the chorus to finish out, ebow hum taking the bow as the last element present in the album.

That closer says much about the scope of the record in general, and despite the fact that it’s one of two songs over four minutes long — the other, as noted, is “Make God Jealous,” a counterpart ending to Spark‘s first half — it serves as further demonstration of the power of what’s essentially a built-out pop structure to convey emotion or anything else for that matter. Johannes continued to work steadily after the release of Spark, as a producer and multi-instrumentalist, as well as on his own projects. In 2014, he issued Fragments and Wholes Vol. 1 as a follow-up solo outing, and in 2017 began a relationship with game company Ubisoft that found him doing the soundtrack to Tom Clancy’s Ghost Recon: Wildlands, which, say what you will about the glorification of war culture, probably makes for a nice bit of walking-around money. Or paying the mortgage money. Or whatever.

Last year, in addition to another Ubisoft soundtrack, Johannes released his third solo album, Hum (review here), amid the summer tumult of July, on Ipecac Records, and it was a recent revisit to that offering that sent me scurrying after picking up Spark as well, which I don’t in the slightest regret. The album may be an examination of personal loss, but it’s also outward-reaching in a way that engages the listener and feels largely timeless. He’s got signed CDs available at his webstore, as well as colored vinyl and all that fancy stuff. In any case, if you know this record, you know it’s worth hearing again, and if it’s new to you as it was to me a couple weeks ago, I hope you enjoy.

Thanks for reading as always.

Pardon me if I’m a little out of my head. Today is the deadline for the Roadburn (now web-)’zine and a bunch of writers have simply blown me off. I’m equal parts furious and disappointed.

I’m also late on PostWax liner notes for a release I don’t think I’m allowed to talk about yet. I wasn’t gonna do PostWax Year Two. I really wasn’t. Because last year it just dragged on me so fucking hard. I don’t know if you understand, but I put every spare fucking minute of my life into writing. I was up this morning before five and I’m watching the monitor in my son’s room for when he wakes. Every minute I get to do this is precious to me, and so help me god by the time the afternoon comes around, I’m basically braindead. And STILL! STILL! Last night, the last thing I did before I went to sleep was send an email about covering something or other, I don’t even remember what.

I’m not complaining — yes I am — but the PostWax thing. I always end up being the factor holding up the show and I hate being in that position. When it came to it, I said yes. I did. I said I’d do it. I couldn’t bring myself to imagine not doing it, or not being disappointed in seeing someone else’s work with those records. There’s plenty of other people who could do it, I know. At the end of the day, I just wanted to be involved.

But that doesn’t get the writing done. Putting your head down and getting to fucking work gets the writing done.

And the kid’s waking up.

The Roadburn ‘zine will happen, with or without the blowoffs. I don’t care if I have to write the fucking thing myself. It’s nothing I haven’t done before. At the end of the day, you go to print. Or in the case of this year, to PDF. Either way, when you say you’re going to do the work, you do.

My family is coming to dinner tomorrow for the first time in a year. I think we have enough chairs, but we might need to bring in the other table. I don’t know. It’s been so long, but enough of us have the vaccine — most crucially, my mother — so we’re going for it. Used to be a regular thing.

Let the record show I lit a fire this morning. It’s April 2. There’s a new Gimme Metal show on at 5PM today. If you listen, thanks.

Next week I’m reviewing the new Genghis Tron. Yawning Sons too if I can, but there are a bunch of premieres as well. It’ll be May before I’ve covered March’s essentials. I know. No one cares, dude. Just do your thing. I’m working on it.

Anyway, a great and safe weekend to you. Watch your head and don’t forget to hydrate. So important.

FRM.

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16 Buy Smoke Machine (And Why That’s News)

Posted in Whathaveyou on March 15th, 2021 by JJ Koczan

16

Okay, so ‘band supports dry-ice industry’ isn’t exactly ‘dog bites man’ when it comes to breaking news. I get that. Here’s the thing: based out of Los Angeles, 16 celebrate 30 years of existence in 2021. Guitarist/vocalist Bobby Ferry is the lone remaining original member, with bassist Barney Firks and drummer Dion Thurman joining to coincide with circa 2013 and guitarist Alex Shuster coming aboard in 2017, but if you’ve ever tried to do something for 30 years, you know that even if you take a break somewhere along the line — say from 2004-ish to 2008-ish — it’s still a significant amount of time to dedicate to a single project.

Their buying a smoke machine now matters not so much in itself, but in just how much it tells you about the band. While their well earned longstanding reputation is for pummeling hardcore-minded sludge, delivered raw on their early work and growing thicker as time has gone on (haven’t we all?), their 2020 album, Dream Squasher (review here), found them branching into new ideas on multiple levels, incorporating melodies and moods that dared to not be directly punishing at least in relation to what was around them. The follow-up to 2016’s Lifespan of a Moth (review here), it was the fourth album they’ve put out since coming back together prior to 2009’s Bridges to Burn, meaning the second era of the band has now matched the first for LPs released.

What the smoke machine emphasizes is that 30 years, eight albums, countless splits, comps, and so on later, 16 are still pursuing new ideas and new ways of thinking about what they do. There are few traits that are to be considered as admirable in creative work. I don’t expect the smoke machine means they’ve suddenly gone arena rock or space-prog or whatever, but it’s these little organic tweaks that show artistic refinement at play, even if the outcome of their songwriting is often so unremittingly heavy.

In addition to Dream Squasher16 took part last year in Magnetic Eye RecordsDirt: Redux (review here) tribute to Alice in Chains, and in 2021, they already have a spot in the Doom Sessions series of splits released by Heavy Psych Sounds, sharing an outing with onetime tourmates Grime. Here’s hoping they get the chance to bring their new smoke machine to a gig someday soon.

Their announcement was duly succinct:

After 29 years we have decided to buy a smoke machine. Evolution can be painfully slow.

https://www.facebook.com/16Band/
https://16theband.bandcamp.com/
http://twitter.com/16theband
http://16theband.bigcartel.com/
http://www.relapse.com/

16, Dream Squasher (2020)

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All Souls Schedule Virtual Concert with Fatso Jetson

Posted in Whathaveyou on March 12th, 2021 by JJ Koczan

This is a thing I’ll watch. Watch it with me. It’ll be fun. This weekend, All Souls and Fatso Jetson — who just so happen to share a drummer, lest there be any concern about limiting personnel — will each record a set to be aired as a livestream upcoming on Veeps, which so far as I know is another one of these services that has cropped up with a back end to handle such things or at very least found new purpose in doing so far prior products offered. All I know about it, in other words, is it’s the same place All Them Witches did their streams, and those seemed to go well enough from what I heard.

All Souls‘ second album, Songs for the End of the World (review here), came out last October, and it’s still on my phone, which as far as my listening-in-the-car-not-because-it’s-something-I-need-to-review-but-just-for-my-own-enjoyment habits go, is high praise. I didn’t get the chance to do an interview with them around the time of release, so maybe this would be the perfect excuse for a chat. I’ll see what I can set up.

All Souls announced the proceedings to come thusly:

all souls

Greetings!

We are getting antsy.
Not playing shows is a drag.

We decided to put together a virtual concert which we will be filming this weekend.

2 bands: All Souls and Fatso Jetson recording live at Total Annihilation Studios in Los Angeles with rad projections. We’re doing it right with a 3 camera crew and will edit it down with the recording soon after to be streamed on Veeps. More info as soon as we have a release date on that.

And then there is the Jam in the Van/Orange Amplifier’s sponsored show with Earthless on April 20!

We’re doing stuff!

Also, we have a new guitarist – Matt Price who also plays in Behold! the Monolith. He shreds and is a great addition to the band. We are busy writing new material for the next album which we plan to record soon.

thanks for your support. we dig folks that value good music.

https://www.facebook.com/allsoulsband/
https://www.instagram.com/allsoulsband/
https://allsoulsband.bandcamp.com/
http://allsoulsband.com/

All Souls, Songs for the End of the World (2020)

All Souls, “You Just Can’t Win” official video

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The Freeks Post New Single “She Left Me Burning”

Posted in Whathaveyou on March 12th, 2021 by JJ Koczan

It’s maybe not a title you want to think too hard about, but the newly-posted single from Los Angeles sometimes-four-piece-sometimes-five-piece-I-guess-it-depends-on-who-shows-up-when The Freeks, “She Left Me Burning,” is the first audio to come from the band’s next album. The record, yet untitled, is done and being mixed. When it’s out — presumably sometime later in 2021 — it will be the follow-up to 2018’s Crazy World (review here), which was issued by Heavy Psych Sounds, and while I’ve no word as to whether the same imprint will stand behind their next outing, the fact that the band has since brought aboard lead guitarist Ed Mundell (The Ultra Electric Mega Galactic, ex-Monster Magnet), is bound not to hurt their case. It certainly does nothing to hurt “She Left Me Burning.”

Along with the song, the band — who had announced a new lineup last year that was different from who it seems wound up recording; wait, 2020 changed someone’s plans? — gave some background as to its making and their plans going forward.

It goes like this:

the freeks she left me burning

The Freeks – She Left Me Burning

Preview to the first completed mix from our upcoming full length album. As the virus hit we also distanced, not gathered, stopped jamming, had no rehearsals and were forced into a 3.5 month hiatus. Since we kept our pod tight, come June 2020, we decided to just go straight into the Sonic Snail Studios and start tracking live, spontaneously with no run thrus and just see what we remembered. As things today are moving much slower than usual, we are happy to say that we have now finished recording 12 songs and have commenced to mixing. So, as we’ve been posting photos and comments in regard to these recording sessions via our social media outlets, we feel it fair to finally let you have a listen. So, here is the first completely mixed track as a preview of what’s to come. thanks for listening and thanks for supporting.

released March 4, 2021

Produced & Engineered by Rainer Fraenkel
Mixed by Rainer Fraenkel & Ruben Romano
cover art – @maroonmonkees

Written by The Freeks;
Ruben Romano – Drums / Vocals
Jonathan Hall – Guitar / Vocals
Ed Mundell – Guitar
Ray Piller – Bass
Rainer Fraenkel – additional guitars

https://www.facebook.com/TheFreeks/
https://www.instagram.com/the_freeks/
http://www.thefreeks.com/
http://www.heavypsychsounds.com/

The Freeks, “She Left Me Burning”

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